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Saturday 24th November 2018at 7.30pm

Snape Maltings Concert Hall

Butterworth Banks of Green Willow

Vaughan Williams Lord, Thou hast been our refuge

Fauré Requiem – Pie Jesu and In Paradisum Elinor Rolfe Johnson soloist

Elgar Nimrod, from Enigma Variations

INTERVAL

Karl Jenkins The Armed ManA Mass for Peace

Elinor Rolfe Johnson sopranoMarie Elliott mezzo-sopranoRichard Pinkstone tenorChristopher Cull baritoneSyed Abusayem muezzinGwilym Howarth trebleMalachy King treble

Aldeburgh Music Club ChoirPrometheus OrchestraMichael Dolan leaderEdmond Fivet conductor

Aldeburgh Music Clubfounded by Benjamin Britten in 1952

From the DIRECTOR OF MUSIC

A very warm welcome to you all at tonight’s special concert, which

commemorates the ending of World War One a hundred years ago.

All the music in the first part of tonight’s concert relates to remembrance

and the Great War. The second part is devoted to a full performance of

Karl Jenkins’ The Armed Man – A Mass for Peace.

There is some marvellous and memorable music tonight and I hope that

you will find the concert both moving and enjoyable.Edmond Fivet

From the CHAIRMAN

Many of you will have attended various remembrance events earlier in

the month on what is a significant anniversary. Two of the pieces to be

performed tonight were written by composers who experienced the full

suffering of trench warfare and one of whom was destined to die by a

sniper’s round in 1916 on the Somme. Butterworth’s Banks of Green

Willow, a blend of traditional and original material, was given its first

performance in 1914 not long before war broke out. It looks back to an

image of the world and a feeling that was to be obliterated forever by the

horror of the First World War.

Other pieces provide the opportunity for reflection, while The Armed

Man confronts man’s ability to commit violence against fellow man,

although ending on a note of solace and hope.Hunter Smith

Aldeburgh Music Club gratefully acknowledges financial support towards the

costs of this evening’s performance from:

Roger Skinner Limited

Vertas Group Limited

Patrons and members of Aldeburgh Music Club Choir

Welcome...

George Butterworth(1885-1916)

The Banks of Green Willow

This beautiful piece was composed in 1913 and first performed in February 1914 at aconcert conducted by Sir Adrian Boult in West Kirby and repeated in London somethree weeks later.

George Butterworth was being recognized as a highly regarded composer.

Upon the outbreak of war Butterworth joined the army and subsequently accepted acommission in the Durham Light Infantry. He won the Military Cross for outstandingcourage at Pozières on the Somme where he and his men succeeded in capturing aseries of trenches on 16–17 July 1916. However, he did not live to receive it in person ashe was killed by a sniper’s round in the early hours of 5 August 1916.

The Banks of Green Willow has been closely associated with remembrance of the FirstWorld War and seems to yearn for a more peaceful and safe world.

Ralph Vaughan Williams(1872-1958)

Lord, thou hast been our refuge

Composed in 1921 Lord, thou hast been our refuge combines a setting of Psalm 90 withWilliam Croft’s hymn O God, our help in ages past. The piece is for full Choir and asemi-chorus (tonight sung by our soloists) and accompanied by the organ, which isthen joined by the full orchestra.

This is a most lovely setting beginning with the Choir singing O God our help veryquietly with the semi-chorus chanting Lord, thou hast been our refuge. The Choir andsemi- chorus join, singing different texts and a large orchestral passage takes us to bothchoirs singing Thou hast been our refuge and ending with a grand finale with bothchoirs and orchestra.

Vaughan Williams experienced the realities of war, serving from 1916-1918 in theRoyal Army Medical Corps and this is another composition frequently performed atremembrance concerts.

George Butterworth and Vaughan Williams were close friends.

Gabriel Fauré (1845-1924)

Pie Jesu and In Paradisum

Frequently performed at remembrance concerts Faure’s Requiem is a sublime piece forchoir and orchestra. Tonight we perform two movements, the Pie Jesu (Blessed Jesus,Lord I pray in thy mercy grant them rest) and In Paradisum (God’s holy angels lead you toparadise).

Edward Elgar(1857-1934)

Nimrod from Enigma Variations

Another piece strongly connected with remembrance and always played on ArmisticeDay at the Cenotaph, built in 1920 in memory of those sailors, soldiers and airmenwho died in the Great War.

The Nimrod variation from Elgar’s Enigma Variations is dedicated to Augustus Jaeger,who was a close friend of Elgar and was a music editor at the music publisher Novello.

Karl Jenkins(1944-)

The Armed Man: A Mass for Peace

The Armed Man was commissioned by the Royal Armouries Museum tocommemorate the Millennium in 2000. The Mass is dedicated to the victims of theKosovo conflict, which was happening as Karl Jenkins was composing the work.

Based on the traditional Catholic Mass, there are settings of the Kyrie, Sanctus, AgnusDei and Benedictus. There are also settings of words from many parts of the world:

L’Homme armé (The Armed Man), based on a 15th Century French folk song; thetraditional Muslim call to worship, the Adhan, Athan or Azaan; Save me from BloodyMen, text from Psalms 56 and 59; Hymn Before Action, words by Rudyard Kipling;Charge!, text by John Dryden and Jonathan Swift; Angry Flames, text by Toge Sankichi;Torches, text from the epic Hindu poem The Maha-bha-rata; Now the Guns have Stopped,words by Guy Wilson, former Master of the Royal Armouries Museum; Better is Peace,words by Mallory and Tennyson; and the final God shall wipe away all tears fromRevelation 21.

The Armed Man moves from a 20th Century, full of war and destruction in many partsof the world, to the 21st Century and the hope of a more peaceful period. The musictouches on many issues but focuses on the violence of war and the effect that it has,not just on the fighting armies, but also upon innocent and often unprotected civilianpopulations. This is referenced by the images in the film that runs whilst the work isperformed.

The music varies from the very beautiful to that reflecting violence and despair. If youdo not already know this work, the tunes and settings will haunt and move you.

Nearly 20 years into the 21st Century the world is, perhaps even more than in the 20th

Century, a dangerous and uncertain place with fierce wars and conflicts in many parts,with tremendous implications for the lives of ordinary people. We must ask ourselveswhat we have learnt from the past and how it might be possible to live in harmony.

The Armed Man has been an enormous success with many performances giventhroughout the world and if it gives some moments of contemplation as to why we arehere in the world it will have succeeded in its purpose.

Edmond Fivet © October 2018

Semi Chorus

Lord, Thou hast been our refuge from onegeneration to another.Before the mountains were brought forth,or ever the earth and the world were made,

Thou art God from everlasting and worldwithout end. Thou turnest man todestruction; again Thou sayest Comeagain ye children of menFor a thousand years in Thy sight are butas yesterday, seeing that is past as a watchin the night.

Full Chorus

O God our help in ages past Our hope for years to comeOur shelter from the stormy blastAnd our eternal home.

Ralph Vaughan WilliamsLord, Thou hast been our refuge

Full Chorus

As soon as Thou scatterest them They are even as a sleep and fade awaysuddenly like the grass.In the morning it is green and groweth up, but in the evening it is cut down, dried up andwithered.

Semi Chorus/Chorus

For we consume away in Thy displeasure,And are afraid at Thy wrathful indignation.For when Thou art angry all our days are gone;We bring our years to an end as a tale that is told,The years of our age are three score years and ten,And though men be so strong that they come to fourscore yearsyet is their strength but labour and sorrow.So passeth it away and we are gone.Turn Thee again O Lord at the last.Be gracious unto Thy servants.O satisfy us with Thy mercy and that soon.So shall we rejoice and be glad all the days of our life.

In paradisum deducant angeli: in tuoadventu suscipiant te martyres, etperducant te in civitatem sanctamJerusalem.

Chorus angelorum te suscipiat,et cum Lazaro quondam paupereaeternam habeas requiem.

God’s holy angels lead you to paradise:may saints in their glory receive you atyour journey’s end, guiding your footstepsinto the Holy City Jerusalem

Choirs of angels sing you to your rest:And with Lazarus raised to eternal life,may you for evermore rest in peace.

Pie Jesu Domine, dona eis requiem,dona eis requiem sempiternam requiem.

Blessed Jesus, Lord, I pray in thy mercygrant them rest, grant them rest,everlasting rest

Full Chorus

Lord, Thou hast been our refuge from one generation to another.Before the mountains were brought forth,Or ever the earth and the world were made, Thou art God from everlasting and world without end.And the glorious Majesty of the Lord be upon us, Prosper Thou, O prosper Thou the work of our hands,O prosper Thou our handywork.

Gabriel FauréRequiem

Pie Jesu

In Paradisum

Karl JenkinsThe Armed Man

L’Homme armé

L’homme, l’homme, l’homme armé,L’homme armé doit on douter, doit ondouter.On a fait partout crier,Que chacun se viegne armer d’unhaubregon de fer.L’homme, l’homme, l’homme armé,L’homme armé doit on douter.

The armed man should be feared.Everywhere it has been proclaimed That each man shall arm himself With an iron breastplate.The armed man should be feared.

L’Homme armé is a French secular song from the time of the Rennaisance and waswidely used by composers as a basic melody for the Latin mass, over forty examples ofwhich are known.

The choir sing the folk song, which celebrates the man of arms: the armed man is to befeared, let every man arm himself with a coat of steel.

Adhaan

Allahu Akbar

Ashadu An La Illa-L-Lah

Ashadu Anna Muhammadan Rasulu-l-lah

Hayya Ala-s-salah

Hayya Ala-l-Falah

Allahu Akbar

La Illaha il la-lah

God is the greatest

I acknowledge that there is no deity butGod.

I bear witness that Muhammad is theMessenger of God.

Come to Prayer

Come to Success

God is the greatest

there is none worthy of worship exceptGod.

The Adhaan, Athan or Azaan is called out by the Muezzin from the mosque five timesa day, and is the summons to prayer of his fellow Muslims for mandatory worship. TheMuezzin is chosen for his talent and ability in reciting the Adhaan and it is one of theimportant duties in the mosque.

Kyrie

Kyrie eleison.Christe eleison.Kyrie eleison.

Lord, have mercy upon us.Christ, have mercy upon us.Lord, have mercy upon us.

Sanctus, sanctus, sanctus, Dominus DeusSabaoth. Pleni sunt coeli et terra gloria tua.

Hosanna in excelsis.

Holy, holy, holy, Lord God of Hosts.Heaven and earth are full of Thy glory.

Hosanna in the highest.

The Kyrie eleison (Greek for Lord have mercy on us) is usually the opening part of amass. After a solemn orchestral introduction, the soprano soloist leads with the maintheme in a lilting waltz time and the choir take this up in turn. The Christe eleison thatfollows is musically an episode in a quite different style – a piece of Renaissancecounterpoint marked, for the learned, ‘after Palestrina’. The choir then return tothe Kyrie eleison, which is heard again with some musical variation.

Save Me from Bloody Men

Be merciful unto me, O God:For man would swallow me up.

He fighting daily oppresseth me.

Mine enemies would daily swallow me up:For they be many that fight against me.

O thou most high.

Defend me from them that rise up against me.

Deliver me from the workers of iniquity,And save me from bloody men.

The words are taken from Psalms 56 and 59 and are sung by the tenors and basses ofthe choir a cappella (unaccompanied) in the style of a Gregorian chant. The Psalmistcalls on God to be merciful and deliver him from his enemies. The final phrase,however, is interrupted by the sudden fateful beat of a drum that dispels any feelingthat all will be well.

Sanctus

The sense of foreboding is continued into this setting of what is traditionally one of thejoyful sections of the Latin Mass. Percussion and brass combine to give a sense ofmilitary build-up, quite subverting the choir’s hopeful chanting of the traditional words.

Hymn before Action

The earth is full of anger, The seas are dark with wrath,The Nations in their harnessGo up against our path:Ere yet we loose the legionsEre yet we draw the blade, Jehova of the Thunders,Lord God of Battles, aid! High lust and froward bearing,Proud heart, rebellious brow,Deaf ear and soul uncaring,We seek Thy mercy now!The sinner that forswore Thee,The fool that passed Thee by,Our times are known before Thee,Lord grant us strength to die!

The people brace themselves for war and, in the words of Rudyard Kipling, the soldiersprepare for the ultimate sacrifice.

Charge

The trumpet’s loud clangourExcites us to arms. With shrill notes of anger,And mortal alarms.

How blest is he who for his country dies.

The double, double beat of the thundering drumCries Hark! the foes come.Charge, ’tis too late, too late to retreat!Charge! Charge!

Trumpets and drums stir up martial feelings. Most of the text is a stanza from JohnDryden’s Ode for St Cecilia’s Day but this is interrupted in the middle by the wordsHow blest is he who for his country dies. These words are a loose translation of themuch-quoted patriotic sentiment of the Roman poet Horace: Dulce et decorum est propatria mori. During the First World War these words became a sort of motto, referredto by the anti-war poet Wilfred Owen as ‘the old lie’.

The words are sung as three verses (the second being repeated) by the whole choir,interspersed by ‘the old lie’, sung by the sopranos and altos, who seem to be inciting themen to fight. Screams are heard at the end as battle is engaged. After a period of silencethe Last Post is sounded.

Angry Flames

Pushing up through smokeFrom a world half darkened by overhanging cloud.The shroud that mushroomed outAnd struck the dome of the sky,Black, red, blue,Dance in the air, Merge, scatter glittering sparks, already towerOver the whole city.Quivering like seaweedThe mass of flames spurts forward.Popping up in the dense smoke,Crawling out wreathed in fire,Countless human beings on all foursIn a heap of embers that erupt and subside,Hair rent, rigid in death,There smoulders a curse.

This is a setting of words by the Japanese poet Toge Sankichi, reflecting on the effectsof the atom bomb dropped on Hiroshima on 6th August 1945. Introduced by the tollingof bells and marked Lacrimoso, this movement, led by soloists, is mournful in mood.

Torches

The animals scattered in all directions,Screaming terrible screams.Many were burning, others were burnt.All were shattered and scattered mindlessly,Their eyes bulging.Some hugged their sons, Others their fathers and mothers,Unable to let them go,And so they died.Others leapt up in their thousands,Faces disfigured

And were consumed by the fire,Everywherewere bodies squirming on the ground,Wings, eyes and paws all burning.They breathed their last as living torches.

This is a setting of part of the Hindu epic the Maha-bha-rata, one of the two majorSanskrit epics of ancient India, in which the fate of animals caught in the conflagrationis described.

Agnus Dei

Agnus Dei, qui tollis peccata mundimiserere nobis.

Dona nobis pacem.

O Lamb of God, that takest away the sins of the world, havemercy upon us.

Grant us peace.

After the traumas of war this movement brings the hope of peace. It is a beautifulsetting of part of the Latin Mass.

Now the Guns have Stopped

Silent, so silent, now, now the guns have stopped.I have survived all, I who knew I would not.But now you are not here.I shall go home, alone;And must try to live life as beforeAnd hide my grief.For you, my dearest friend, Who should be with me now,Not cold, too soon,And in your grave, Alone.

A lonely survivor mourns the death of a friend in battle. Guy Wilson, who worked atthe Royal Armouries for thirty years, wrote the words.

Benedictus

Benedictus qui venit in nomine Domini

Osanna in excelsis.

Blessed is He, who cometh in the name ofthe Lord.Hosanna in the highest

A serenely beautiful cello solo introduces this movement. The choir takes up the tuneto words from the Latin Mass. Peace leads to rejoicing but after anexplosive Hosanna the mood of serenity returns.

Better is peace

Better is peace than always war,Always war,And better is peace than evermore war

L’homme, l’homme, l’homme armédoit on douter.

Ring out the thousand wars of old.Ring in the thousand years of peace.Ring out the old, ring in the new,Ring happy bells, across the snow.The year is going, let him go,Ring out the false, ring in the true.Ring out old shapes of foul disease.Ring out the narrowing lust of gold,

Ring in the valiant man and free,The larger heart, the kindlier hand.Ring out the darkness of the land,Ring in the Christ that is to be.The year is going, let him go.

God shall wipe away all tearsAnd there shall be no more death,Neither sorrow nor crying,Neither shall there be any more pain.Praise the Lord.

The substantial final movement begins by returning to the music from the beginningadjusted for words expressing a totally different sentiment, taken from ThomasMalory. The choir then return to the words l’Homme Armé presented as a short fuguebefore offering Better is peace in a slightly different form. This leads by an orchestralinterlude to the Millennial music set to the words of Tennyson’s new year poem: Ringout the thousand wars of old.

Had the piece ended on this note of triumph it would have been hard to go onperforming it after ten years in which the blight of warfare has continued as before.The ‘mass for peace’ ends, however, on a higher plane with a hymn using words fromthe Book of Revelation. The brass and percussion are suddenly silent and the choirsing God shall wipe away all tears, and there shall be no more death, neither sorrow norcrying, and there shall be no more pain.

Thanks to Stuart Brown for additional notes.

EDMOND FIVET

Edmond Fivet has been a major force in British music education,having been Director of the Royal College of Music JuniorDepartment and serving, for eighteen years, as Principal of theRoyal Welsh College of Music and Drama.

Since moving to Suffolk he has become increasingly involved inlocal music making, first conducting the Aldeburgh Music ClubChoir in May 2007 and being appointed Director of Music ofAldeburgh Music Club in 2008. Since then Edmond has conductedsome 30 concerts most of which have been at Snape Maltings. Atthe 2017 Aldeburgh Festival the Choir sang with the CBSO in aperformance of Britten’s ‘The Building of the House’ to mark the50th Anniversary of the building of Snape Maltings. Repertoire hasincluded Handel Messiah and Alexander’s Feast; Mozart Mass in CMinor, Requiem and Coronation Mass; Rossini Petite MesseSolennelle; Walton Belshazzar’s Feast; Haydn Creation and NelsonMass; Fauré Requiem; Schubert Mass in G and Mass in E flat; OrffCarmina Burana; Lambert Rio Grande; Mendelssohn Elijah; VerdiRequiem; Bach B minor Mass and Christmas Oratorio; and A Nightat the Opera Gala Concert.

2008 saw the formation of the Prometheus Orchestra, whichEdmond conducts, and which has given over 40 concerts in 12venues across Suffolk. Programmes have included a range ofHaydn, Mozart and Beethoven symphonies and works by Elgar,Grieg, Wagner and Schubert. The Orchestra has given a number offirst performances and has championed the work of Suffolk-basedcomposers. Prometheus Orchestra played a major part in theestablishment of the William Alwyn Festival and has given aconcert at each Festival from 2010-17.

A widely experienced adjudicator, examiner and consultant,Edmond has worked at home and overseas. Edmond wasChairman of the Bury St Edmunds Concert Club for 10 years andnationally was a trustee and board member of the NationalChildren’s Orchestras 2014-2016. From 2009-2015 he was chair ofthe Concert Promoters Group of Making Music.

Edmond was appointed CBE in the Queen’s 2008 BirthdayHonours for services to music and education.

ELINOR ROLFE JOHNSON

Elinor Rolfe Johnson graduated from Cambridge University with aMasters degree in Music and studies with Susan Roberts. Shefurthered her studies in the Opera school of the RoyalConservatoire of Scotland where, as an RCS scholarship holder,she was kindly supported by the Russell Sheppard Trust VocalScholarship and the Richard Stapley trust.

She has performed at venues including the Theatre Royal Glasgow,L’Archevêché and Grand Theatre Aix-en-Provence, St John’s,Smith Square, Leeds Town Hall, the Snape Maltings and St.George’s Hanover Square.

A finalist at the London Handel Festival Competition, Elinor RolfeJohnson made her Wigmore Hall debut with William Vann.

Concert engagements have included Spirit in Handel’s Comus withthe London Handel Orchestra conducted by Laurence Cummings,Ismene in Telemann’s Orpheus with Classical Opera conducted byIan Page, J. S. Bach Cantata No. 11 and Easter Oratorio with theIsrael Camerata conducted by Avner Biron and the St John Passionwith the Britten Sinfonia directed by Mark Padmore. Operaticengagements have included Countess Almaviva Le nozze di Figarowith Opera Brava and Regents Opera and Rosalinde DieFledermaus for Opera Danube.

MARIE ELLIOT

Born in Devon, Marie Elliott studied at the Guildhall School ofMusic and Drama and on the Opera Course at the Royal Academyof Music, where she was awarded her Dip/RAM.

Her prizes include the Lucille Greagan Prize, the Winifred DisneyPrize, the Isabel Jay Prize for Opera, the Colin Murray Scholarshipand the Isabella Lucas Prize for Contralto Singing. In 2004, she wasawarded the Erich Vietheer Memorial Award by Glyndebourne.

At Glyndebourne, she has covered Cornelia and Cesare GiulioCesare, Eduige Rodelinda and Irene Rodelinda. Her otherengagements have included Geneviève Pelléas et Mélisande forIndependent Opera at Sadler’s Wells, Bradamante Alcina forEnglish Touring Opera, Disinganno Il Trionfo del Tempo eDisinganno for Transition Opera, Lola Cavalleria Rusticana at the

St Endellion Festival, Angelina La cenerentola for Stanley HallOpera, Olga Eugene Onegin for English Touring Opera and operaby definition and Oronte La fida Ninfa for La Serenissima inVenice in London.

Recent engagements have included Disinganno Il Trionfo delTempo e Disinganno for the Classical Opera Company, MessagieraL’Orfeo for La Nuova Musica, Maddalena Rigoletto for OperaProject, Oronte La fida Ninfa with La Serenissima, LicidaL’Olimpiade at the Buxton Festival and the St John Passion with theBournemouth Symphony Chorus.

RICHARD PINKSTONE

Born in Northumberland, Richard Pinkstone studied at theUniversity of York, and with Timothy Evans-Jones at the RoyalCollege of Music International Opera School, graduating inSummer 2018.

At the Royal College of Music, he sang Lysander A MidsummerNight’s Dream, The School Master The Cunning Little Vixen, Sandy/ Officer 1 The Lighthouse, Il Podestà La finta giardiniera andAlfred Die Fledermaus. His studies were generously supported bythe Carne Trust, an Yvonne Wells Award, The WinshipFoundation, Talent Unlimited, and The Josephine Baker Trust.

He made his professional operatic debut singing the title rolein Albert Herring for the inaugural Grange Festival, conducted bySteuart Bedford OBE and directed by John Copley CBE, in 2017.The production was nominated for a 2018 South Bank Sky ArtsAward.

Recent solo engagements have included Handel’s Messiah at TruroCathedral; Mozart’s Great Mass in C Minor with Ronald Corp andthe Highgate Choral Society, and at Sunderland Minster;Mendelssohn’s Elijah at the Cambridge Guildhall; and the samecomposer’s Lobgesang at the Mayfield Festival. He made hisinternational debut with a recital of arias by Puccini, Rossini andVerdi at the Castel Sant’Angelo in Rome in 2016.

During 2018 / 2019, he makes his debuts with Scottish Opera onthe Autumn 2018 Opera Highlights Tour and with Opera North asTamino The Mini Magic Flute.

CHRISTOPHER CULL

Christopher Cull is an alumnus of Queen’s University Belfast andthe Royal Irish Academy of Music. A recipient of the BBC / ArtsCouncil NI Young Musicians’ Platform and a former YoungAssociate Artist with Opera Theatre Company, he furthered hisstudies on the award-winning opera course at The GuildhallSchool of Music and Drama with generous support from TheGirdlers’ Company, The Countess of Munster Musical Trust, TheSimon Fletcher Charitable Trust and The Arts Council of Ireland,and at the National opera Studio.

Operatic engagements have included Lane/Merriman TheImportance of Being Earnest for Northern Ireland Opera,Collatinus The Rape of Lucretia for British Youth Opera, ValentinFaust for Clonter Opera, Masetto Don Giovanni for NorthernIreland Opera, The Gaoler / M. Javelinot Dialogues des Carmélitesfor Grange Park Opera, Marcello La bohème for Opera HollandPark “Christine Collins Young Artists” and Bank Account Billy TheRise and Fall of the City of Mahagonny for Rough Magic TheatreCompany.

He made his Barbican Hall debut singing Belshazzar’s Feast withthe Guildhall Symphony Orchestra, and recent concert highlightshave included the St John Passion with the RTÉ NationalSymphony Orchestra, Brahms Requiem in CarlowCathedral, Messiah with the Palestrina Choir and the Orchestra ofSt. Cecilia, Carmina Burana at The Ulster Gall, Belfast, and aconcert of arias with the Ulster Orchestra broadcast by the BBC.

Gwilym Howarth and Malachy King

Both of tonight’s treble performers recently ‘starred’in Jubilee Opera’s production of The Happy Prince.

Jubilee Opera was formed in 1987 to give children the experience of working withprofessional singers, musicians and production teams, with the object of developingtheir performance skills and encouraging a love of music, singing and drama. The firstproduction in 1988 was Britten’s Let’s Make an Opera and this has led to a steady flowof children’s operas over the last thirty years.

Soloists are chosen by audition and cast with their individual talents in mind, so thateach participant works in an environment that nurtures his or her potential. A highlevel of commitment is essential from both children and parents. That there is demandfor what Jubilee Opera provides is evidenced, not only by double-casting the youngsoloists for the recent production of The Happy Prince but by creating a chorus of overthirty, many of whom are new members. The work of Jubilee Opera helps to mitigatethe worrying decline in school music. Jubilee Opera Chorus which operates through -out the year was formed as a training ground for children and provides a nucleus whencasting the main production. The administration, and much of the productionactivity, is carried out with remarkable dedication by a loyal team of volunteers.

Jubilee Opera is supported by Jubilee Opera Trust, a registered charity (No.1125791),which raises funds for the annual programme of work and most significantly for themain autumn production. Most of the funding comes from private sources, principallytrusts and individuals.

Jubilee Opera, The Stud House, Stratford St. Andrew, Suffolk IP17 1LWTel: 01728 602216 – info@jubileeopera.co.uk – www.jubileeopera.co.uk

SSAFA – THE ARMED FORCES CHARITY

The Soldiers, Sailors and Families Association was founded in 1885 to relieve distressamong families of soldiers and sailors. After taking on responsibility for airmen’sfamilies it adopted its current name in 1997.

SSAFA’s purpose is to help ex-service men and women and their families and relationswhen they need advice, assistance or just a friendly shoulder to lean upon. TheAssociation does not sit in judgment but aims to help people sort out problems as fastas possible.

The Association does not limit the type of problem it will deal with or the type of helpthat might be obtained and it will see matters through to the end on behalf of thosewho qualify and call upon it in need.

Aldeburgh Music Club is delighted to be arranging tonight’s concert in associationwith the Suffolk Branch of SSAFA for whom there will be a retiring collection at theend of the concert.

Email: suffolk@ssafa.org.ukAddress: SSAFA Suffolk Branch

Unit 3, Stour Valley Business CentreBrundon Lane, Sudbury CO10 7GBTel: 01787 377850

Website: www.ssafa.org.uk

ALDEBURGH MUSIC CLUB CHOIR

sopranoLiisa Beagley*Lesley BennionFelicity BissettJuliet BreretonMaria Chapman-BeerLibby Cotton*Veronica DowningLinda DriscollLiz FivetCaroline GillPhilippa GodwinBelinda GrantClare Hawes*Camilla HaycockPenny KayAnne LonsdaleWendy MarshallLinda MartinRosemary Martin*Hilly MillsAnne PatonMelanie PikeAnnie RenwickLouise SantSandra SaintTrish SchreiberSylvia TaylorJo ThackrayJane ThomsonHelen TyeSara Viney*Sarah Wallington-SmithErica Wren*Carol Wood

altoJane BenceCaroline FisherMary Garner*Sheila GriffithsGwyneth HowardJuliet JacksonAnita JeffersonJudith Lawrence*Philippa Lawrence-JonesAuriol MarsonMaggie Menzies*Helen MowerAnne NewmanFrances OsbornSuki PearceHeather RichardsMary SidwellMaggie Smith*Sarah SomersetMary StevensonGillian Varley

tenorCharles BurtBen Edwards*Peter Howard-DobsonPerry HuntIan KennedyJonathan LawleyChris Lawrence*Joy MarshGuy MarshallVeronica PosfordKit Prime*JonathanWilliams*

bassChristopher BishopKen CordeiroJohn DriscollCharles FearJack FirmanIan Galbraith*John GilesChris GillMichael GreenhalghDavid GreenwoodNigel KahnChris MattinsonMichael PearcePeter RobertsDavid SmithHunter SmithRobin SomersetJohn StanleyRobin TyePeter WallisDavid Walsh*Christopher Wheeler

*Guest singer

violinMike DolanGreg EatonJon ActonLizzie SkinnerCal FellKate WaterworthJulie TrenthamHelen StanleyJeanne MannCarol Hawkey

Clare VarneyHelen FarrellHelen TaberMargaret CatchpoleStuart TraegarRosie LowdellSue ThomasMolly Craxton

violaMary Kate IngramMarna CarlsonLaura FeeneyJean HudsonPatrick CrookeBen Payne

celloJeremy HughesHarriet BennettHelen LiebmannClaire BostockCameron SmithYalda Davis

bassPhilip Simms Angela ChillingworthLiz Atkins

fluteStephanie Wingham-BoyerSamantha ReadSophie Bowes

oboeNeil CarlsonKim HaanAnna Ducker

clarinetCliff WybrowLaura ScalesSandy Tate

bassoonSteve LockKaren BainbridgeDavid Lock

hornKay DawsonMarian HellenMillie LihoreauGeorgia Dawson

trumpetJohn JermyIan AbbottAdrian Robinson

tromboneSarah MinchinPaul BeerMike TattKen Fitzhugh

tympaniIan Chopping

percussionGary Kettel Glyn MatthewsJeremy CornesTom DaleyIsis Dunthorne

harp Zoe Anderton

organWilliam Saunders

PROMETHEUS ORCHESTRA

The lists of performers were correct at the time of going to press

ALDEBURGH MUSIC CLUB

Benjamin Britten founded Aldeburgh Music Club in April 1952 and its first

meeting was held in Crag House, the home at that time of Britten and Peter

Pears. It has become one of East Anglia’s leading choral societies with over eighty

members.

The season runs from September to May and the choir rehearses every Tuesday

evening in order to mount three major concerts in the season. In all these

concerts the choir performs with professional soloists and orchestras and

regularly appears at Snape Maltings Concert Hall as well as Orford Church.

The repertoire extends to oratorio, religious music, opera and contemporary

commissioned works. New members are always welcome.

Works performed over the last three years amongst others include: Haydn The

Creation, Maria Teresa Mass, Nelson Mass, Vivaldi Gloria and Credo, Victoria O

Quam Gloriosum, Bach Christmas Oratorio, Orff Carmina Burana, Lambert The

Rio Grande, Fauré Requiem, Britten Six songs from Orpheus Britannicus, Pärt

The Deer’s Cry, Mozart C Minor Mass. Schubert, Mass in G, Purcell Funeral

Sentences for Queen Mary, as well as opera pieces.

Aldeburgh Music Club is a registered charity and a member of Making Music.

ALDEBURGH MUSIC CLUB COMMITTEE 2018-2019

Chairman Hunter Smith

Vice-Chairman Veronica Posford

Hon Treasurer Ken Cordeiro

Hon Secretary Auriol Marson

Patrons Administrator Peter Howard-Dobson

Social Secretary Juliet Brereton

Concert Manager Penny Kay

Marketing Helen Mower

President Humphrey Burton CBE

Vice-President Robin Leggate

Dame Ann Murray

Director of Music Edmond Fivet CBE

Orchestral Manager Liz Page

Rehearsal Accompanist Jonathan Rutherford

Vocal consultant Robin Leggate

Vocal coaches Maggie Menzies

Liz Page

Kit Prime

Jonathan Rutherford

HUMPHREY BURTON CBE. Best known for his long and distinguished career in

music broadcasting, Humphrey joined the BBC in 1955 and by 1965 was the first

head of the new Music and Arts department. Subsequently he was a founder

member of London Weekend Television as Head of Drama, Arts and Music and

later edited the arts magazine Aquarius. He returned to the BBC in 1975 to head

Music and Arts again, where he hosted Omnibus, inaugurated Arena and the

long-running series Young Musician of the Year. For the past thirty years he has

combined freelance activity as a director of televised opera and concerts with

work as an impresario, broadcaster and biographer. Now a resident of

Aldeburgh, Humphrey is fully involved in music, both nationally and

internationally, while also being an energetic champion of amateur music

through the Aldeburgh Music Club.

ROBIN LEGGATE. After studying at the Royal Northern College of Music and

Snape Summer School, with Peter Pears, Robin joined the Royal Opera House,

Covent Garden as a principal tenor in 1976. He sang over 900 performances

there over the ensuing 35 years. He left the Opera House in 2001 to concentrate

on larger roles internationally, singing many Britten operas in Europe and

America. In concert he has sung most of the standard repertoire, notably

Handel, Mozart, Beethoven and Britten. Robin retired to live in Suffolk in 2011.

DAME ANN MURRAY. Born in Dublin, Dame Ann studied singing from a very

early age. After a period at University College Dublin, she undertook further

studies with the renowned singing teacher, Frederic Cox, at The Royal

Manchester College of Music. Dame Ann has sung in the great opera houses of

Hamburg, Dresden, Brussels, Paris, Berlin, Cologne, Zurich, Amsterdam, the

Chicago Lyric Opera, the New York Metropolitan Opera, Teatro alla Scala, Milan,

the Wiener Staatsoper and the Salzburg Festival. She has particularly strong

links with English National Opera, the Royal Opera House, Covent Garden and

the Bayerische Staatsoper, München and is renowned for her performances in

the operas of Handel, Mozart and Strauss. She was appointed an honorary

Dame Commander of the British Empire in the Diamond Jubilee Honours for

services to music.

SPONSORSHIP AND DONATIONS

Aldeburgh Music Club welcomes financial donations from individuals,organisations and companies. This can take the form of support for a particularconcert, soloists or orchestral players as well as advertising in our concertprogrammes or underwriting concert and educational activities generally.For further information or if you are thinking of supporting the Club in any way,please contact the AMC Chairman, Hunter Smith (Tel:01728 561005)

ALDEBURGH MUSIC CLUB ‘PRIZE DRAW’

Regular draws take place throughout the year to win cash prizes of £20 to £100.50% of money raised through the draw is donated to Aldeburgh Music Club andthe balance goes into the prize fund. Tickets cost £15 and are valid for every drawduring the year of purchase.Tickets may be purchased from Sheila Griffiths (Tel: 01728 652903) or HelenMower (Tel: 07588 603054).

PATRONS

By becoming a patron you can help to underwrite our concerts. Your name will belisted in our concert programmes (if you so wish) and you will receive invitationsto social events. The suggested minimum annual subscription is £100, or £150 fora couple. Patrons may of course make a greater contribution if they so wish.

Our patrons’ administrator is Peter Howard-Dobson (Tel: 01728 452049)

PRESIDENTS

1959-86 Peter Pears 1988-2010 Rae Woodland 2010- Humphrey Burton

VICE-PRESIDENTS

1959-76 Benjamin Britten1959-84 Imogen Holst 1977-2010 Rosamund Strode2003-13 Valerie Potter2010-16 Alan Britten CBE

2013- Robin Leggate2017- Dame Ann Murray

DIRECTORS OF MUSIC

1952-61 Imogen Holst1961-62 Monica Venn1963-64 John Boyce1964-71 Rosamund Strode1971-79 W H Swinburne1979-86 Monica Morland1986-2001 Philip Reed2001-07 Philip Simms2007- Edmond Fivet

SPONSORSHIP

Lady Andrews

Tony and Gill Bailey

Follett and Libby Balch

Tom and Sue Balch

Amanda Baly

Maggie Beale

Jonathan Birt and Graham Ingham

Maggie Boswell

Juliet Brereton

Judi Britten

Philip Britton and Tom Southern

Charles Burt

Anne Bushell

Francis Carnwath and Caroline

Wiseman

Jean Clouston

Keith Coventry

Richard Alexander Crane

Peter and Bridget Dickinson

Chris and Jenny Ellins

David and Trish Elliott

Caroline Erskine

Peter and Margaret Fife

Michael and Phyllida Flint

Judith Foord

Shirley Fry

Zoë and David Greenwood

Richard and Sheila Griffiths

Pauline Hawkins

Tim and Alison Hughes

Simon and Chris Ive

Graeme and Penny Kay

Richard and Michelle Keane

John Latham

Robin Leggate and Ken Cordeiro

Eric and Claire Lowry

Sir David and Lady Madel

Mark and Susie Marshall

Michael Marson

Elizabeth Matthias

Chris and Patricia Mattinson

David and Anne Morris

Pam Munks

Dame Ann Murray

Patrick Nicholls

Sir Stephen and Lady Oliver

Frances Osborn

Andrew and Susan Paris

Michael and Suki Pearce

David and Anne Perfect

Bernard and Caroline Pinnock

Veronica Posford

Valerie Potter

James and Stephanie Powell

John Raison

Simon and Judy Raison

Lilias Sheepshanks

John Sims

Lady Sinclair

David and Anne Smith

CURRENT PATRONS

ADVERTISING IN CONCERT PROGRAMMES

You can support the Club, as well as promoting your business or

organisation, by advertising in our concert programmes.

Please contact the AMC Chairman, Hunter Smith (Tel: 01728 561005)

GRANTS AND DONATIONS TO ALDEBURGH MUSIC CLUB

Graeme and Penny Kay and other anonymous donors.

Elizabeth Spinney

Janet Tait

Calum and Jane Thomson

Christopher Tooth

Frederik van Kretschmar

Sir John and Lady Waite

John and Ann-Margaret Walton

Sally Walton

Carol Watson

Trevor and Belinda Wilkinson

Vanessa Williams

Michael and Carol Wood

Christopher and Shinaine Wykes

Chris and Jackie Youldon

ACECULTURAL

TOURS

2019 DEPARTURES

VALLETTA INTERNATIONAL BAROQUE FESTIVALJanuary 14–20

BATH BACHFESTFebruary 21–24

CAMBRIDGE CHURCHES, COLLEGE CHAPELS & ORGANSFebruary 26–28 / March 1–3

LEIPZIG AT EASTERApril 17–25

WAGNER’S RING CYCLE IN LEIPZIGApril 30 – May 6

MELK BAROQUE MUSIC FESTIVAL May - TBC

BACH FESTIVAL IN LEIPZIGJune 17 – 24

VERONA OPERA FESTIVALJuly 5–10

GLOUCESTER THREE CHOIRS FESTIVALJuly 27–31 / July 31 – August 4

INTERNATIONAL GILBERT & SULLIVAN FESTIVALAugust 8–12

SCHUBERT IN SCHWARZENBERGAugust 25 – September 1

SIBELIUS FESTIVAL IN FINLAND (20TH ANNIVERSARY TOUR)September 3–9

MEDIEVAL TO MODERN: MUSIC & ART IN GERMANYOctober 17 – 24

CALL NOW TO BOOK

01223 841055

NEW 2019MUSIC COLLECTION

OR VISITwww.aceculturaltours.co.uk

TOURSCULTURAL

ACE

Aldeburgh Music Clubfounded by Benjamin Britten in 1952

Aldeburgh Music Club is a Registered Charity No 1000990

SATURDAY 16 MARCH 2019 7.30pmSNAPE MALTINGS CONCERT HALL

THE AMAZINGMR HANDEL

FOUR CORONATION ANTHEMS‘The Water Music’ Suite in G

Concerto Grosso Opus 6 No. 9Chandos Anthem No. 7 ‘My song shall be alway’‘O worship the Lord in the beauty of holiness’

from Chandos Anthem No. 4

Ticket Prices: from £9 to £25From Snape Maltings Box Office Tel: 01728 687110

or online: aldeburghmusic.club